IN  MELODY  AND  HARMONY 


FOR  CHILDREN, 


MARY  FRANCES  FROTH  INGH  AM 


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dictation  studies 

IN  MELODY  AND  HARMONY 

3fot  Gbilbten. 

By 

Mary  Frances  Frothingham. 

WITH  INTRODUCTION  B Y 

JULIA  LOIS  CARUTHERS. 


PRICE,  $1.25. 


CHICAGO  : 

CLAYTON  F.  SUMMY  CO. 
WEEKES  & CO.,  LONDON. 


COPYRIGHT, 

1903, 

By  Clayton  F.  Summy  Co. 


f&l.  2- 
f 3®>dL 


A 

I N DEX. 


(X l 


Introduction  Page 

Including  a classified  outline  of  Melodies  for  Dictation. 

Chapter  I.  Melodies  for  Dictation Page 

Chapter  II.  Scales Page 

Chapter  III.  Intervals Page 

Chapter  IV.  Triads Page 

Chapter  V.  The  Chord  of  the  Dominant  Seventh Page 

Chapter  VI.  Cadences Page 

Chapter  VII.  Melody  Questions  for  Original  Answers Page 

Chapter  VIII.  Substitutional  Chords Page 

Chapter  IX.  The  Chords  of  the  Dominant  Ninth,  and  the  Leading-tone  Triads 

and  Seventh  Chords Page 

Chapter  X.  Non-harmonic  Melodic  Tones Page 

Chapter  XI.  Secondary  Seventh  Chords Page 

Chapter  XII.  Chords  of  Transition,  Effecting  Temporary  Changes  of  Tonic  . . Page 


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73 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/dictationstudiesOOfrot 


INTRODUCTION. 


What  is  it  to  he  musical? 
head  and  heart. 


in  a word,  to  have  Music  not  in  the  fingers  only,  but  in  the 

Schumann. 


The  melodic  phrase  being  the  common  innate  form  of  tone  thinking,  it  stands  to  reason  that  the  student 

should  first  gain  a concrete  knowledge  of  one  voiced  melody. his  predilection  to  music  having  first 

manifested  itself  in  a love  of  melody. 

Julius  Klauser. 


I have  urged  that  all  subjects  taught  in  any  university  shall  be  begun  in  an  elementary  way,  with  a 
little  child  of  six  years  of  age. 


Francis  W.  Parker. 


The  child’s  first  spontaneous  music  expression  is  in  bits  of  song,  and  the  beginnings 
of  music  training  should  start  at  this  point,  bringing  the  piano  or  other  instrument  into 
relation  as  a means  of  expression. 

In  the  early  work  of  ear-training,  melodies  for  dictation  are  more  easily  comprehended 
by  the  child  when  suitable  words  accompany  the  music.  The  ability  to  hear,  think  and 
write  melody  and  harmony  independently  of  an  instrument,  is  the  first  preparation  for 
study  at  the  instrument. 

Dictation  of  short  melodic  phrases  with  words,  for  the  purpose  of  music  thinking 
away  from  the  piano,  is  recognized  by  teachers  of  young  children  as  a necessary  part  of 
their  work.  This  should  be  accompanied  by  free  melodic  dictation  without  words,  leading 
to  the  ability  to  hear  two  and  three  voiced  melody  as  harmony. 

Before  such  contrapuntal  perception  is  reached,  the  study  of  harmony  should  be  begun 
in  a simple  form,  introducing  the  child  to  chords  “in  the  block”  as  major,  minor,  dimin- 
ished, etc.,  and  to  the  observation  of  harmonic  relations  as  tonic,  sub-dominant,  dominant, 
etc.  This  study  of  harmony  should  be  begun  after  laying  a foundation  in  simple  melodic 
work,  preparing  the  child  for  a ready  appreciation  of  counterpoint  as  harmony. 

For  some  years  the  students  in  my  Normal  Classes  have  been  required  to  write  a con- 
siderable number  of  short  melodies  with  words,  illustrating  the  first  purposes  of  dictation. 

From  this  accumulating  material  I have  selected  melodies  which  have  proved  espe- 
cially useful  in  our  dictation  classes  for  children,  adding  melodies  from  my  own  note 
book.  They  are  here  classified  in  accordance  with  the  various  phases  of  primary 
work. 

These  melodies  should  be  sung,  written  and  played,  from  hearing  only, and  when 
key  and  measure  are  clearly  realized  by  the  child  he  is  ready  for  original  work.  This  the 
teacher  may  at  first  secure  by  giving  the  child  words  in  simple  metrical  form,  for  which 
he  is  to  provide  melodic  setting.  Later,  little  original  melodies  without  words  will  be 
forthcoming.  Children  should  be  encouraged  to  find  on  the  piano,  songs  which  they  may 
have  learned  at  home  or  in  school  and  to  write  these,  indicating  changes  of  harmony  as 
they  occur. 

Thus  melody  becomes  language  to  the  child,  another  speech,  inviting  him  to  that 
vaster  study  of  harmony  through  which  he  may  understand  with  deepening  love  and 
reverence  all  that  is  beautiful  in  tone. 


4 


In  giving  melodies  for  dictation,  the  teacher  should  require  logical  process  in  thought 
and  expression;  the  pupil  should 

First,  attentively  listen  to  the  melody  given : 

Second,  silently  and  clearly  think  it: 

Third,  sing,  write  or  play  it. 

In  singing  the  melody,  the  pupil  may  give : 

Melody  Names  (doh,  me,  soh,  etc.) 

Pitch  Names  (f,  g,  a,  etc.) 

Time  Names  (traa,  taa,  etc.) 

Numeral  Names  (1,  2,  3,  etc.) 

When  the  melody  for  dictation  is  a little  song  with  words,  the  words  should  be  sung 
by  the  child  before  requiring  the  mental  analysis  involved  in  singing  melody  names,  pitch 
names,  etc.  When  the  melody  for  dictation  is  given  without  words,  it  should  first  be 
hummed,  or  sung  to  some  vocal  syllable  as  lah  or  loo. 

In  singing  Melody  Names,  melodic  relation  of  tones  is  realized  and  relative  pitch  in 
key  expressed. 

In  singing  Pitch  Names,  absolute  pitch  is  expressed. 

In  singing  Time  Names,  rhythmic  relations  are  realized.  These  Time  Names  are  a 
part  of  the  Tonic  Sol-Fa  system. 

In  singing  Numeral  Names,  the  child  is  prepared  for  transposition,  the  realization  of 
tonal  relations  in  any  key  known  to  him.  Progressive  study  of  the  keys  in  both  major 
and  minor  modes  should  be  constant  and  melodies  for  dictation  given  to  the  pupil  in  one 
key  should  be  freely  written  and  played  in  other  keys. 

In  giving  two-voiced  melodies  for  dictation,  the  two  voices  may  be  played  together 
and  the  pupil  may  at  once  write  both  parts  as  played.  When  words  accompany  two-voiced 
melodies,  the  teacher  may  sing  one  part  and  play  the  other.  If  this  work  is  done  in  a 
class,  the  two  parts  may  be  written  on  a blackboard  by  the  teacher  and  read  at  sight  by 
two  children,  other  members  of  the  class  writing  the  two  parts  as  heard. 


Melodies  for  Dictation. 

Class  A. 

For  observation  of  direction  in  melodic  progression  and  for  observation  of  re- 
peated tones. 


J.  L.  C. 


J.  L.C. 


But  - ter  - cup,  come  up 

J.  L.  C. 


fif 


l-2-f 


-± 


— 


1 


Bow  your  yel  - low  head 


J.  L.  C. 


t£=t 


HI 


zzntz 


|[ 


w 


=±dtm£=±= 


Love  - ly  May  has  come 

J.  L.  C. 


| I J 

List  to  the  horn  Call  us  each  morn 

Y.  G. 


j] 


2=± 


Pus  - sy  sings  on  just  one  tone. 

J.  L.  C. 


Dol  - ly,  sleep 


on. 


i 


Spring-time  bright  is  here 

J.  L.  C. 

=t 


!3-E 


—--I  ^x=\=p 

i * -I =£* 


rl — rf 


II 


Down  on  the  wall  Ripe  ap  - pies  fall. 


J.  L.  C. 


G.  T. 


-g^- 


Bfgfi 


=± 


^=1= 


==: 


=1 


i 


Sleep,  lit  - tie  sis  - ter  of  mine 

J.  L C. 


Swing-ing  so  high  and  so  low 

G.  H. 


i 


4= 


Bird  - ie,  find  your  nest 

J.  L.  C. 


fp pH 


i 


=t±: 

All  join  hands  and  cir  - cle  round. 

J.  L.  C. 


I 


*2=4 


:d= 


4 


Here  we  go,  To  and  fro. 


ii 


Ham  - mer  swing,  An  - vil  ring. 

Old  Song. 


Z-  ff-o  — j —i 

q q — 

q q i 

i 1 q 

1 “ 

n 

F f 

— s * — 

m m 

— si m 

! 

H 

7 4 » * 

t=  E— J 

1 

1— * * 

® ii 

Ba  - by  bye,  Here’s  a fly;  Let  us  watch  him,  You  and  I. 
Class  B. 

For  observation  of  measure  rhythms. 

Note:  The  melodies  given  in  this  class  illustrate  primary  measure  form  only,  those  forms  beginning  with  a weak 
beat  being  given  in  Class  F. 

Soldiers’  Marching  Song. 

J-  L.  C.  j.  L.  C. 


■-4-W- 


4=1= 


st 


■m-  9 

Left,  right,  left,  right,  left. 

J.  L.  C. 


W=&=±. 


t=: 


:=j: 


=1 


Daf  - fo  - dils  dance  in  the  breeze... 

J.  L.  C. 


-A—*— 


v~5" 


HP 


9 


We  will  march  straight  thro’  the  arch.  Dance  we  so  gai  - ly  a - round  the  green  tree. 

J.  L.  C.  j.  l.  C. 


1 q 

-q- 4 

— — -5 — p — pj— 

1 1— 

==fh 

:fij5  4 m 

--m> * 

-H— FFG5-4-p # p * — 

* W 

-g*.  Ii 

Rock  - ing  to  and  fro. 

Skipping  Rope. 


Tick  tock,  tick  tock,  says  the  clock. 

M.  P. 


m 


ii 


:3: 


114 


Swing,  skip,  skip,  Swing,  skip,  skip,  Skip  rope  with 

I '■*  4=^-4 


me. 

J.  L.  C. 


:4==j: 


■g2 — 

Watch  the  waves  come  roll  - ing  in:  Where  have  they  been? 

J.  L.  C. 

=4 


ii 


t — * 


O - ver  the  riv  - er  to  grand  - fa  - ther’s  house,  Row,  Row,  Row ! 


Class  C. 

For  observation  of  melodies  heard  in  the  lower  octaves. 

G.  H. 


J.  L.  C. 


m 


mm em 


m 


Gi  - ants  step  with  great,  great  weight. 

G.  H. 


m 

Ding,  dong,  ding,  The  church  bells  ring. 

J.  L.  C. 


r-rite— 7" 

111 Efe 


=^=3= 


=t=t 


-2^ 


ill 


Lis-ten  to  the  deep,  deep  tones. 
Class  D. 

For  observation  of  silent  rhythm. 

J.  L.  C. 


Frog-gie  croaks  so  sad  - ly, What’s  the  trou-ble,  pray? 


J.  L.  C. 


— 

— 1 1 — 

— I — ifpP-a =^- 

1 

h 

Lb 

* 9 

J " tlO-i  j 

— 9 

1 9— 

9 

= ,j 

Hush,  hush, 


Ba  - by  dear. 
F.  M.  U. 


Rain, 


rain, 


urn 


:=±=*= 


i 





9 9 — 

Left ! Left ! Left,  right,  left ! 

Class  E. 

For  observation  of  pulse  rhythms. 


v%  r 


~ r ~j  j 

— * Wi 


J.  L.  C. 

m 


=t= 


Hark!  Hark!  Hark!  How  the  dogs  do  bark! 

Elliott. 


=&==±r 
g= 


:ii 


Baa. 


baa,  black  sheep,  Have 


you 


an 


wool? 

Elliott. 


5=2 


=1: 


=fc 


=3* 


I! 


Dim 


dong, 


bell,  Pus 

Elliott. 


sy’s 


in 


the  well. 

Old  Song. 


'V 


>— 4 — •> 


:=: 


=t= 


m i 


£=£ 


-rj — r 


II 


See  saw,  Mar  - jo  - ry  Daw. 

Class  F. 

For  observation  of  secondary  measure  forms. 

Old  Song 

-0- 


One,  two,  Buck  - le  my  shoe. 


M.  J.  M 


SEE 

E©^=^= 


=f= 


m 


E= 


— J -4= 


ii 


To  bed,  to  bed,  Says  sleep-y  head. 


Oh,  bab-bling  brook,  how  cool  you  look! 

M.  P. 


Ii 


=t 


In 


dear 


lit 


tie  house 


1 

1 

9 — 

we 

9 

will 

ii 


live. 
M.  P. 


,g= 

Co, 


:=t 


boss 


CO, 


boss! 


the 


milk 


i 


maid 


calls. 


Class  G. 

For  observation  of  rhythms  involving  the  pulse  and  a half  tone  with  its  complement- 
ary half  pulse  tone ; and  for  observation  of  the  three-quarter  pulse  tone  with  its  comple- 


mentary  quarter  pulse  tone. 

— i A — i 1 ->  i — 1— j J j ^ \ 

G.  T. 

fp_2  J=r— if  A 1 

:S 

f=l 

$=4 — * • — * - 9 * 1 * 9 t=  F 

Rock  - a - bye,  rock  - a - bye,  ba  - by,  to  sleep. 

j ■ ^ j—  £ q 

— * J 

All  a - board. 

C.  K. 

k 

I 

5 4 * _ — * «— 

Ship  a - hoy!  Ship  a - hoy!  Rang  out 

Marching  Song. 

-]  f _ A— 1 F — 11 

loud  and  clear. 

J.  L.  C. 

e-  # # n 

4 ds  1 m 0-Sr  F 1 

* £ F „ a 

fcr*  # * z:z:  » • ' 1 " 

We’re  march  - ing  thro’  Georg  - ia—  Hur  - rah,  lads,  hur  - rah! 


Class  H. 

For  observation  of  the  minor  mode. 

E.  C. 


Bfe?  2 

f j* 

— « — 

1-  | 

-Vi 

F'=fF 

u 4 m 

F £ 

1 | 

The  North  wind  sings  a mourn-ful  song. 


F.  M.  U. 


1 — 


:d=F: 

• — m 


iF=t 


0 


:S 


Sum-mer  fad  - ing,  win-ter  comes 


J.  L.  C. 


— H 

1 i S -fri 

rA d— 

-j 

■ ■ y 

— m * — 

V 

1 — J * 

— m — 

— 3 

moist  - y day!  Shall  we  ev  - er  find  our  way? 
J.  L.  C.  J-  L.  C. 


t-4 

]- 

= =n 

IA— tsH 

1 £2  ' 1 

FF^ 

— 

— h — 

-d qH 

1 — 13 

8 

[EAi-f — •- 

Dol  - ly 

* *d 

lost  her 

lit  - tie 

F 1 

shoe. 

EES 

■ -►  * 

Soft  - ly 

— J 

fades  the 

* 

light  of 

l=d=H 

day. 

Class  I. 

For  observation  of  chromatic  tones.  C.  J.  P. 


rH 

1 \ 

1 i 

1 1 

. 4- 

d F 

_j  J : 

i H 

EE 

II 

1% 

1 

1 * 

* W> 

1 1 1 

oral 

l*i 

% 

— m 

Gone  is  win  - ter’s  cold  and  snow,  Soon  the  sum  - mer  flow’rs  will  grow. 


J.  L.  C. 


:z z|  ^ 1 

rr  * £ r 

— ^ a m — 

i®  0 m m 

-3— H 

peij  * e t I 

— 1 mbhb 

— ! 1 — \ ft 

|K ^ I* — 

u F F F 

=*=\\ 

So  still  the  dark  - ness  fall  - eth  down,  Fall  - eth  down  a - bout  the  town. 

M.  J.  M. 


cd 

V q d l 

-4  ' 

3 H tA 

4 H a — , 

^ =\ 

EE 

j5A — d J * \ 

> 

LA_  J N 

— ^ 1 1 1 — 

9 ® * w> 

LJ__J  .=1 

Dol  - ly’s  torn  her  lit  - tie  frock,  And  I fear  she’s  lost  her  sock. 

J.  L.  C. 


Creep 


mg, 


mg, 


creep 


soft 


ly 


go. 


8 


Class  J. 

For  observation  of  melodic  progression  in  two  voices. 


J 

. L.  C. 

n 

f—v — 

1 

4= 

n 

W—Az & 

— ^ 

— <s> — 

^ — j] 

Ding,  dong,  ding 

j O 

-II 

L ^ ; 

1 

hr 

“1  i 

4 

— U 

P £ d 

* * 

— & — 

— © JJ 

Eing,  sweet  bells,  ring, 


E.  C. 


Chirp,  chirp,  chirp. 


Sing,  bird  - ie,  sing. 


Adapted  from  the  German. 


Cuck 


oo, 


cuck 


oo, 


calls  from  the  wood. 


C.  J.  P. 


2-  E - 

1 -4 1 

4 J 4 — 

^ 

q. 

J * 

Tra  - la  - la, 

0 K W — 

Tra  - la  - la, 

— i =3 

§ 

-o-  W 

1=1 

* 

-* 

Tra  - la  - la 

- la, 

Tra  - la  - la 

la, 

* 

Gai  - lj 

1 4 

w> 

r we’re 

1 — -+ — - 

-J  .-4 — ~-^= 

danc  - ing  and 

i — 1 | 

i-  4= — 4 n 

— J * * 

sing  - ing  to 

mm 

day. 

11 

rr m 

1 1 

m — w * 

— -r  ^ 

d — a 

Gai  - ly  we’re  danc  - ing  and  sing  - ing  to  - day. 


Many  of  the  melodies  for  dictation  may  afterward  be  given  to  the  child  for  harmo- 
nization. 

The  melody  names  are  those  of  the  Tonic  Sol-Fa.  These  name  the  tones  of  the 
chromatic  scale  as  follows:  Ascending,  doh,  de,  ray,  re,  me,  fah,  fe,  soh,  se,  lah,  le,  te, 
doh.  Descending,  doh,  te,  ta,  lah,  la,  soh,  sa,  fah,  me,  ma,  ray,  ra,  doh. 

Names  of  the  chromatic  tones  ending  with  e are  pronounced  with  the  long  e as  in  me: 
those  ending  with  a are  pronounced  with  the  long  a as  in  ray,  with  the  exception  of  ra 
which  is  pronounced  with  the  broad  a as  in  fah. 


9 


For  the  convenience  of  those  unfamiliar  with  the  Tonic  Sol-Fa  time  names,  the  ap- 
pended list  gives  a starting  point: 

Traa,  names  a one  pulse  tone  occurring  on  the  strong  pulse  of  the  measure. 
Taa,  names  a one  pulse  tone  occurring  on  a weak  pulse  of  the  measure. 

Tlaa,  names  a one  pulse  tone  occurring  on  a medium  (or  secondarily  accented) 
pulse  of  the  measure. 

Tones  two  or  more  pulses  in  duration  are  named  as  above,  repeating  the  vowel  sound 
aa  for  each  pulse  added  to  the  first. 

Saa,  names  one  silent  pulse : this  name  should  be  whispered.  For  each  addi- 
tional silent  pulse,  a whispered  aa  is  added  to  the  first  syllable. 
Traa-Tai,  names  two  half  pulse  tones  occurring  on  the  strong  pulse. 

Taa-Tai,  names  two  half  pulse  tones  occurring  on  a weak  pulse. 

Tlaa-Tai,  names  two  half  pulse  tones  occurring  on  a medium  pulse. 

Taa-Sai,  names  a half  pulse  tone  followed  by  a silent  half  pulse. 

Saa-Tai,  names  a silent  half  pulse  followed  by  a half  pulse  tone. 

For  a complete  time  chart,  the  student  is  referred  to  Tonic  Sol-Fa  publications. 


Julia  Lois  Caruthers. 


Chicago,  November,  1902. 


10 


In  music  it  is  as  with  chess  playing,  the  Queen,  melody,  possesses  supreme 
power;  but  it  is  the  King,  harmony,  who  ultimately  decides. 

Schumann. 


The  purpose  of  this  book  is  to  provide  material  for  the  use  of  teachers  in  intro* 
dueing  the  study  of  Harmony  to  children,  and  to  suggest  an  outline  of  progressive 

study. 

Each  subject  is  discussed  from  three  standpoints:— the  Musical,  involving  correct 
hearing;  the  Theoretical,  involving  knowledge  of  names  and  definitions;  and  the 
Expressive,  involving  singing,  playing,  writing  and  reciting. 

Experience  in  Harmony  work  with  children  has  proved  that  none  of  the  require- 
ments suggested  in  this  plan  of  study  is  beyond  the  capabilities  of  the  average  pupil. 

For  many  valuable  suggestions  regarding  the  materials  used,  I am  indebted  to 
Miss  Julia  Lois  Caruthers  and  Mr.  Adolf  Weidig. 


Mary  Frances  Frothingham. 


11 

CHAPTER  I. 


MELODIES  FOR  DICTATION. 

The  order  of  these  studies  for  dictation  is  the  same  as  that  given  in  the  Classified  Outline  in  the 
Introduction.  The  methods  of  presenting  them  to  the  pupil  are  there  fully  explained. 

Class  A. 


Direction  of  Melodic  Progression. 


fj 


W g 


=T=i 

~9>— 


P-f= 


=t 


-± 


=4r 


~1 l“l— ' =1  — 

z± 


ism 


:±= 


' 


:£2= 


as 


A* d= 


0-  m- 

t=t= 


-0—m- 


-£2- 


=t 


=4 


I 


-i* — m — J- 


g— 


te=i 


=4 

1 - 

- 

d 

m =! 
•_!— 

d =1 

— G — ^ — 

9 

-1  - 
m) 

tr?  - • 


:F: 


1 


EZ§flfa=F 


m — 0- 


iMJ — l11 — 0- 


A 


3=t 


0—* 


= =t 


m 


Repeated  Tones. 


=fc 


4zz0: 


* — 0- 


L=t=: 


i 


-0—*— 

— g — 

-T 

-G~  -G- 

— m — 

|= 

r=r= 

=4  4=- 

4 11 

F - 

F— ^ 

F 

— 4P — 4P — 

H — 1 — 

—g- 

=F — 1 — 

-4-P-F— 

- 0 0 -0- 

: .<zLlA\ 

i=t 


=1 


0 * 


« * (*- 

f==t==4= 


Hr 

=j — q n 

t-f*  r £ t 

m 0 0 

1 

— ^ 

J 

i _j 

11 

m 

-F — r= — t- 

q m 

!_d 

• ii 

12 


Class  B. 

.For  Observation  of  Measure  Rythms. 


i) | 

1- 

i| =1 

3 

— 4=  -4 

a 9 — 

; 

=I"1I 

-fe^4-J A- 

_P *L_ 

•— * « — 

— ^ N 

iijllll 


i2= d: 


* ^ 


25t 


ii 


=4=l=r= 


J . , I II 


■2=^ 


=1= 


« 


si 


H 


-[==r[r-f 


— i* — «- 


1=P= 


g4_t gg= 

4 


=t 


=tq 


ii 


fa=E= 


-4—^ — 

£g^=*=^ 


i=3=t 


• 0 • 


#=4=3: 

4 » » 


±=± 


3 


I=fc=‘ 

—4 — - 


1= 


"I * 


II 


m 


=*t==Pi=rJ: 


=1= 


P ■)- 


±r 


« 1«- 


ii 


fe 


:=^==t==1=3=|= 


=£= 


=d 


=zl— 


II 


13 


'TT 


=C=t 


:=F: 


=t 


fcg±I 


-i* — (® — i* — m <m  <m 


t=t 


i=. 


u 


jPg^3fe^g=^Eg; 


^ t~ — fr: 


::□ -=t 


~*\  _+ 


^1==^=^===^===1==| 


:Hzii2: 


:S: 


:=1= 


^m-- 


=tt=t 

• ■ * 


“ » i ^ : ::.  U 

*> m * m ,J 


T-  ^ -3 1 — | — -i-7 — I*— 


<*  .*'*  - • | *35  - - H 

1 — r-r^d-f-i — |-|^ii — * ^ ->  n 


z&£J2^=im==3= z± 


^ — 4P — I* jp 

-1*-  Ufrc=t ' 


tz=P± 


-g)— ~^-M~ 


:f=— 


mil 


Class  C. 

For  Observation  of  Melodies  heard  in  the  Lower  Octaves. 


I 


-N^gas 


1221 


f£ 


4=t 


is^zzd 


=11 


K-ff-4 — 

±=bfc=! 


^ * 


:=t=^==^=: 


=t 


)] 


K-g-F 


3=R3E=5 


3=^= 


a 


R=t 


3: 


4= 


— TZ)—' 


dfc=3 


?S£ 


11 


14 


Class  D. 

For  Observation  of  the  Silent  Pulse. 


p=fc^:  g 

— T~~^ 

1 J 

=P— X~ 

rtr - i 

===H 

ffi— ^4— J — — 

j * 

m * 

t * 

±±%rt  |=* 

-I* <*- 


-x x- 


j] 


=1: 


-X * — 


31 


=1 — i 


1= 


-* — * 


=fc= 


a==i 


=t 


-ml X m>~ 


*=$ 


X < 


X F 


^=^=t= 


=X=P= 


t==4 


*= at 


=£=t= 


— 


Class  E. 

For  Observation  of  Pulse  Rhythms.  (The  divided  beat.) 


-A-^z: 


* ~—W 


t=t 


=1=1= 

1 : 

— * — ^ 

c. 

T ft 


t=-fc 


w>—± 


1^— !*— 1 p — (*— j 


i 


At 


£ * * £=  ~ * = 

ft-—— 4 0—h  1— J f— - l — —I—* 


— =l=t  .*fa==p=j: 
=^=ad — *- 


^-J==l= 

: =P d 


i 


T 


-s*- 


^ J= 


v2  £ 


±4: 


i 


grj  r fc 


=1=1 

-* — * 


3=t 


-m *- 


t=r=£ 


— , 

— 0 — 

!=£= 

=t=j 


15 


Class  F. 

For  Observation  of  Secondary  Measure  Forms. 


a i 

f m * 

~~ ^ J 

r j h — 1 

EEH1-# — — 

tJ 

v -i=  t= 

— t — ^ j 

E: J— 31 

rzi 

7"ttu  ,1 

. 1 1 

~i  4^ 

* 

1 

1 

J 

_1 

^ • 11 

tc 

L-  ^ ! 

1 m 

1 — ~ “'  m 

^ I] 

hr  tt  ; 

! J m 

f”  r—  f*-  - 

h 11 

tfe 

pr  ^ v 

— m 

w m 

1 u 

^ p — 

11 

Btfcu 

_j 

f =1 

V ~y 

1 ( 

— <S>- — 1 

r "1  - 

^ II 

RZ^4J-- 

tT 

A — J— 

m & 

i 

~9>— 

-S-4-E— 

C— ^ i^F 

= E 

^ * 

0 Z 

E 11 

Aii  tt  *nn  , 

rrrr 

r-w +P-a— * J — 

1 

m 

11 

|y  tt  ^ ^ 

* 

— 

-J  H 

m 1 

— -m 

-1  H 

* -J 

: ^ 13 

Cmg 

' O ^ 

(• 

^ * _ 

- t=-  m 

i* , 

m 



i 

-T+  f* i 

I 

t 

“| 

' — zJ 

11 

P^- 

tt  1 

1 

1 

L 

1 



11 

■tt  4 

1 

m 

r^- 

III 

« j 

* 

h !* 

c= = =H 

- 

^ * __  H 

1™*^  - 

> l m 

4P 

_ .r 

n i 1 1 

1 

r i 

& 

i m 

J 4 11 

t 

T 5 

i 

^ --- 


16 


Class  G. 

For  observation  of  rhythms  involving  the  pulse=and=a=half  tone  with  its  complementary  half=pulse  tone;  and  for  observation  of 
rhythms  involving  the  three=quarter  pulse  tone  with  its  complementary  quarter=pulse  tone. 


Class  H. 


For  Observation  of  the  Minor  Mode. 


18 


Class  I. 

For  Observation  of  Chromatic  Tones. 


2 fe-4  — 

p 

— H 1 

P5=| 

« t— 

r5 

r-i 

I — 

~fr=3=d 

1 i 

1 J j d 

— i 

? H 

£2  . _ 

ee!~* 

~ — * 

^ 

1 1 

— IP 

_j^ 

i 

— 4=P 

* ^ 

^ I 



1 — - ^ 

" 1 

1 1 1 

w^S-i 

49 

! — sj m 

1 — 

'J H 

1 -t  2 

\=^==d 

W 

|] 

■^^9 41 — 1 

_ 

_ 

. -1 

9 m 

^ II 

TO 

Mill 

CE=^=3  =1 

5 — 4 * 

— ^ — 

3 * > ? 

■«»  - _ n c 

— i 
— 1 

?t—m—  + — 
t:  rT 

-=  - ii 

<TJ 


n 

• -q= 

. d. ......  -_r  j 

— i 
i 

m — +— — +i 

— i 

4? 

m 

* 

— | 

P =T  =1 

1 d-r- J 

|vl 

Efe 

r 4 i 

&=> •J 

— 

i— — t — u 

k- 

1 

1 

1 — m 

b j 

tJ 


Class  J. 

For  Observation  of  Melodic  Piogression  in  Two  Voices. 


1 j — | 

1 J _3  1 

p==j=F 

U 

P-4-d=i 

2:  *1 

1 1 

"l 1 

1=1=1 

V 

1 

P?-  -1 

mL 

E=^d 
1 1 

EF-3 

E§Lfl ! 

i— m 

t — £ 

: i 

eeUe 

2 

*> 

* • m 

p 

— ® | 

7ST 

~j — . 


r — 


(•  -4b 


u , 

Jte 
-4  r 


19 


20 


CHAPTER  II. 

SCALES. 

The  scale  is  the  most  regular  as  well  as  the  most  pronounced  melody,  which  through 
usage  has  become  the  foundation  of  all  melodic  as  well  as  all  harmonic  progressions. 

(Adolf  Weidig.) 

Major  Scales. 

(As  presented  to  small  children.) 

The  scale  melody  includes  all  the  members  of  the  Tone  family.  When  we  sing  or  play 
a scale,  it  is  like  calling  the  roll  to  see  if  all  of  the  family  are  present.  There  are  three 
ways  of  calling  the  roll : 

1—  Using  the  Melody  names,  Doh,  ray,  me,  etc. 

2 — Using  the  Pitch  names,  D,  e,  f ft,  g,  a,  b,  cfi,  d. 

3 — Using  the  Numeral  names,  1,  2,  3,  4,  5,  6,  7,  8. 

As  the  class  calls  the  roll  (singing)  one  pupil  may  write  the  record  of  attendance  on 
the  staff  and  another  may  see  where  each  tone  is  placed  on  the  keyboard  (playing  the  scale 
from  hearing.) 

Transpose  the  scale  melody  to  all  keys  in  order,  taking  seven  scales  with  sharps  and 
seven  scales  with  flats. 


Progressive  Order  in  Study  of  Scales. 

a—  Singing. 

b — Playing  from  hearing. 

c Writing  from  memory.  (The  scales  may  be  written  first  without  signa- 

tures, placing  the  necessary  sharps  and  flats 
before  the  notes  to  which  they  belong.) 
d Reciting  away  from  the  keyboard  or  staff — the  test  of  understanding. 

The  Steps  of  the  Scale. 

The  first  experiments  at  the  piano  in  transposing  the  scale  will  convince  the  child  of 
the  necessity  for  a small  step  between  Me  and  Fah,  and  Te  and  Doliu 

Tetra-chords. 

Show  that  there  are  two  distinct  parts  to  the  scale — four  tones  in  each,  the  first  part 
beginning  with  Doh  and  ending  on  Fah:  the  second,  beginning  with  Soli  and  ending  with 
Doh.  The  steps  in  both  parts  are  similar — two  large  and  one  small  in  each. 

Also  point  out  that  the  last  part  (tetra-chord)  in  one  scale  will  be  the  first  one  in  the 
next  in  scales  with  sharps.  In  scales  with  flats  the  first  tetra-chord  becomes  the  last  in  the 

following  scale  with  an  increasing  number  of  flats. 

Each  new  scale  with  sharps  begins  on  Soh  of  the  preceding  scale.  This  will  be  t le 
new  Doh  or  key-note.  The  new  sharp  is  always  Te.  Fah  of  the  scale  with  flats  becomes 

Doh  of  the  new  scale  and  the  new  flat  is  always  Fah. 

Older  pupils  may  write  the  circles  of  the  4th  and  5th  and  may  study  scales  including 

double  sharps  and  flats. 

Younger  pupils  should  study  only  those  scales  for  which  there  are  signatures  and  need 
not  go  far  into  enharmonic  tonality. 


21 


Minor  Scales. 

The  character  of  the  Minor  has  by  this  time  become  familiar  to  the  ear  through  the 
dictation  studies  previously  given  and  through  minor  compositions  which  have  been  studied. 

Introduce  the.  Harmonic  Minor  scale  by  playing  it  immediately  after  the  Parallel 
Major  scale. 


t- . ^ “= 

(f ^ ©-J£=r— ¥> “=  : 

4T=^=Zi — — 

tJ 

— c—! - 

The  new  scale  belongs  to  the  same  family  or  key  as  the  Major  though  the  3rd  and  6th 
have  changed  their  tones  and  now  sing  a small  step  lower.  Their  song  is  so  sweet  and 
tender  that  the  whole  family  feels  its  influence  and  seems  to  have  changed  its  character. 
It  is  now  said  to  be  in  the  Minor  or  poetic  mode. 

The  Major  key  resembles  sunshine  while  the  Minor  reminds  us  of  twilight  or  moon- 
light. 

The  Minor  expresses  not  only  mystery,  romance,  tenderness  and  all  that  is  poetic  or 
awe-inspiring  in  nature,  but  often  portrays  the  fantastic  gaiety  of  elves,  gypsies  and  other 
wild  folk,  or  the  weird  wanderings  of  ghosts. 

Relative  Scales. 

The  question  will  arise— What  signature  shall  be  used  for  the  key  of  G Minor?  There 
are  no  special  signatures  for  the  Minor,  so  one  belonging  to  a Major  scale  must  be  used. 
G Major  has  one  sharp  but  that  signature  would  involve  the  use  of  two  chromatics.  The 
signature  of  two  flats  will  be  the  most  convenient.  That  belongs  to  the  key  of  B?5  but 
BtMs  the  Relative  Major  of  G Minor  so  the  two  scales  can  easily  use  the  same  sign.  G is 
Lah  in  the  scale  of  B ^ and  B ^ is  Ma  in  the  scale  of  G Minor. 

G Major  and  G Minor  are  Parallel  scales  but  Bl?  Major  and  G Minor  are  Relative 
scales. 

Progressive  Order  in  the  Study  of  Minor  Scales. 

a — Compare  Parallel  scales  with  reference  to  their  large  and  small  steps, 
b — Write  all  minor  scales  without  signatures. 

c — Write  all  minor  scales  using  signatures  of  their  Relative  Majors, 
d — Write  certain  Major  scales  and  their  Relative  Minors, 
e—  Recite  Major  and  Minor  scales, 
f — Introduce  Melodic  Minor. 


22 

CHAPTER  III, 


INTERVALS. 


14.  Dictation  of  Intervals  between  any  two  tones  of  the  Major  scale. 


1 — tf  1 

, 

G£^ 

m 1 ® ® 9 



^ i 

tT 

3rd.  3rd.  5di.  O.u.  (j,..  7 th.  8tli.1 


F? 

§ 1 

& 

|E 

_ a 

tfc 

r CJ  & eg-1 

- fe 

— 



— tf^ 1 

L _ J 

k 

i 

u 

When  written  the  staff  degrees  should  be  counted  and  the  Intervals  named  from  the 
number  of  degrees  between  the  lowest  and  highest  notes. 

Definition:  An  Interval  is  the  distance  from  one  tone  to  another,  measured  and 
named  according  to  the  number  of  tones  and  degrees  of  the  staff  intervening. 

2.  Discrimination  between  Consonant  and  Dissonant  Intervals:  Consonant  Intervals 
being  those  whose  tones  agree  in  sound,  and  Dissonant,  those  whose  tones  clash  and  re- 
quire an  answer  or  resolution.  At  this  point  give  only  the  2nd  and  7th  as  examples  of 
Dissonant  Intervals. 

3.  Study  of  Enharmonic  Intervals.  This  may  be  called  re-naming  the  tones  of 
Intervals. 


r. 

J- ^^7 

rr+t  tt? 

- 

1?— A ^ 

: * » ... 

: 

4.  Classification  of  Intervals  as  Large  and  Perfect.  Perfect  Primes,  4ths, 
octaves.  Large  2nds,  3rds,  6ths  and  7ths. 


etc. 

5th s and 


Illustration  of  the  Prime. 


, | 

1 1 — 

, -| 

l7 

gf J 

1 ^ — 

ii 

LV 

b # e r 

r m 

r % 

& JJ 

This  melody  may  be  sung  by  two  members  of  the  class.  Their  voices  in  unison  on  Gr 
give  the  Prime. 


Major  Scale  Inter= 

Perfect. 

n 

Large. 

Large. 

Perfect. 

l 

Perfect. 

4 

Large. 

J 

Large. 

j 

Perfect. 

J 

— V 1 

1 

“| 

. 

1 

vals,  from  the  key= 

-Jr~ 

1 

1 

tone  to  each  tone  in 

-fv\ ! 

zb 

— ^ 1- 

v^T/  <r? 

?r. > 

(T3 

f rz? 

(T2  1 i 

the  scale. 

tr — p 



A 

* 

1 

i 

| 

Prime. 

2nd. 

3rd. 

4tli. 

5th. 

6th. 

7th. 

8th. 

Small  Intervals. 


Small  Intervals  are  a small  step  smaller  than  Large  Intervals. 

1.  Dictation  of  Large  and  Small  2nds,  3rds,  6ths  and  7ths. 

(The  Major  and  Minor  Triads  may  be  introduced  as  illustrating  Large  and  Small  3ds  and  Perfect  5ths.) 


Large. 

Small. 

Large. 

Small. 

Large. 

Small. 

| 

Large. 

Small. 

f-JL 

: 1— 

4“ 

- to 

si-] 

Efe— ^ 
u 1 

FA  -.g3 
1 

. 

1 

i -1 

v — 1 

Lr U 

2nd. 

— 

3rd. 

7th. 

— 

6 th. 

— 

23 


Large. 

Small. 

Large. 

Perfect. 

Small. 

Large. 

Small. 

Perfect. 

-JL — s — 

— 7^ 

— — 

— 

m — s — 

& 

£2 



— 

— Lrz? 

.. 

Major  Triad.  3rd.  3rd.  3rd.  5th.  Minor  Triad.  3rd.  3rd.  3rd.  5th. 

2.  Singing  Large  and  Small  Intervals  without  help  from  the  piano. 

3.  Writing  and  reciting  Large  and  Small  Intervals  from  all  notes. 

4.  Inversion  of  Large,  Small  and  Perfect  Intervals. 

In  inverting  Intervals  (changing  the  relation  of  the  tones  so  that  the  lower  tone  be- 
comes the  higher)  it  wifi  be  found  that  the  Large  Intervals  become  Small  and  the  Small 
become  Large,  but  the  Perfect  remain  Perfect. 


Augmented  Intervals. 

Augmented  2nds,  6ths  and  Primes,  4ths  and  5ths  are  a small  step  larger  than  the 
Large  2nd  and  Gtli  and  the  Perfect  Prime,  4th  and  5th. 

The  Augmented  3rd  and  7th  are  not  used  as  they  would  be  enharmonic  Perfect  4ths 
and  octaves. 


zn 

/ 

IT 

V- 

ay  ay 

1 — The  Augmented  2nd  may  be  introduced  by  playing  the  Harmonic  Minor  scale  and 
having  it  written  on  the  blackboard.  A Major  triad  followed  by  the  Augmented 
triad  on  the  same  root  will  introduce  the  Augmented  5th. 


H 

/ 22  \ 

& 

/ LL  \ 

i s ^ 1 

L ^ J 

i 

tir 

hr  . vay  \ 

i i 

\ ^ ^ 

Augmented  2nd.  Augmented  triad.  Resolution. 


The  Augmented  4th  may  be  heard  in  the  Dominant  7th  chord  in  the  following 
position. 


(-1p  } 

22 

V 



-TTJ- 

The  Augmented  6th  chord  will  give  the  Augmented  6th  and  4th. 


*2 — Written  work:  Large,  Perfect  and  Augmented  Intervals  from  given  notes. 


Large.  Augmented.  Perfect.  Augmented. 


rH 

?- i 

-i 

_l 

g^ n 

[7 

tl 

k az>  ' ^ 

(T5  ^ 

<TD 

(T2  11 

hs 

u L 

2nd.  2nd.  4th.  4th. 


3 — Recognition  of  these  Intervals  at  sight  in  compositions  or  on  the  blackboard. 

4 — Practice  in  singing  them. 

It  is  not  practicable  to  use  these  Intervals  or  the  Diminished  for  dictation  — as  they 
are  not  distinguishable  from  their  enharmonic  Intervals  unless  in  chord  formation  or 
certain  progressions. 


24 


Diminished  Intervals. 


Diminished  3rds  and  7ths,  and  4ths,  5ths  and  octaves  are  a small  step  smaller  than 
small  3rds  and  7ths,  and  Perfect  4ths,  5ths  and  octaves.  The  Diminished  2nd  and  6th 
would  give  the  enharmonic  Perfect  Prime  and  5th,  so  are  omitted. 


Small.  Diminished.  Small.  Diminished. 


pH 

(~- 

l=\— 

" 1 

1 1 
11 

| 

h 

o - | 

w 

-) 

o 

V o'  } 

2nd.  2nd.  6 th.  6th. 

1—  The  Diminished  5th  may  be  illustrated  by  playing  the  Diminished  triad  preceded 
by  a Major  or  Minor  triad. 


Resolution. 


□ 

Resolution. 


The  Diminished  7th  in  the  Leading  - tone  7th  chord  in  Minor  preceded  by  the  Inter- 
vals  of  the  Large  and  Small  7th. 


Resolution. 


The  Diminished  4th  in  the  inversion  of  the  Augmented  triad. 


9- e 

rTT  1+0  u 

rt  o o u 

Resolution. 


2—  Write  Small  and  Diminished  3rds  and  7ths  and  Perfect  and  Diminished  4ths,  5ths 
and  octaves  from  given  notes. 

3 Sing  Diminished  Intervals  and  recognize  them  in  compositions  or  on  the 

blackboard. 

4 — Inversion  of  Diminished  and  Augmented  Intervals. 

The  Diminished  Intervals  will  become  Augmented  when  inverted,  and  the  Augmented 
will  become  Diminished. 

General  Exercises. 

1 — Practice  in  hearing  and  distinguishing  all  classes  of  Intervals. 

( If  the  teacher  plays  an  Interval  which  she  considers  an  Augmented  4th  and  the  pupil  calls  it  a 
Diminished  5th  the  answer  could  not  be  considered  wrong  as  the  sound  is  the  same.) 


2 — Practice  in  singing  all  Intervals. 

3 — Practice  in  reciting  and  writing  all  Intervals. 

4 — Practice  in  finding  all  keys  to  which  a certain  Interval  may  belong:  e g is  a 
small  3rd  in  C.  G,  D,  F,  e,  d etc.  (The  capital  letters  refer  to  Major  and  the  small 

ones  to  Minor  keys.) 


25 


5 — Dictation  of  two-voiced  melodies. 

( This  work  may  accompany  the  Interval  study  from  the  beginning,  the  simpler  melodies  being 
used  at  first.) 


zg====t=i= 


t— r 


— ^ — i- 


m 


in 


H- 


±r. 


r 


±2. 


m. 


—&J1 

- 


:=t=4 


49 


i£2: 


)] 


li.2  .j j±== - 

-:4-*  -:;J  f ? 

I | ! | 1 I 


r 


m 


* S i 


I I 


I I 


s* 


m 


r -5-  P 


6 — Composition  of  two-voiced  melodies  with  words  or  without. 


26 


CHAPTER  IV. 

TRIADS. 

1.  Dictation  of  triads  for  recognition  of  their  character.  (Major,  minor,  augmented 
or  diminished.) 

a — Major  and  minor  triads  may  be  introduced  as  soon  as  the  ideas  of  key  and 
mode  have  been  grasped. 

When  3rds  and  5ths  are  understood  the  intervals  of  the  triads  should  be 
analyzed  from  hearing. 

b — Augmented  and  diminished  triads  can  be  used  to  illustrate  the  use  of  the  aug- 
mented and  diminished  5th  and  their  formation  noted  at  the  same  time. 

Analysis  of  Triads. 

A Major  triad  has  a large  3rd  and  perfect  5th  or  a large  3rd  and  a small  3rd. 

A Minor  triad  has  a small  3rd  and  a perfect  5th  or  a small  3rd  and  a large  3rd. 

An  Augmented  triad  has  a large  3rd  and  an  augmented  5th,  or  two  large  3rds. 

A Diminished  triad  has  a small  3rd  and  a diminished  5th,  or  two  small  3ds. 

The  feeling  of  repose  in  major  and  minor  triads  should  be  noted,  as  well  as  the 
desire  for  resolution  or  ‘Answer”  which  is  felt  on  hearing  an  augmented  or 
diminished  triad. 


Major.  Minor.  Augmented  Diminished. 


2“ — f 

L / 

1 A 

rv  f. — s 

9 



Augmented  Triad  with  Resolutions.  Diminished  Triad  with  Resolutions. 


f-J/ Ttz? 

_ \J\)  k 

esj — § — -§ — -g— 

— i— — g= 

— g — fia? — -g--: 

M.  m. 

d. 

M. 

M. 

A. 

M. 

m.  M. 

d.  m. 

Ag- 

" “$g  " kg 

ESSi  tl 

§ 

— Sg- 

=£S-- 

mm 


M 


321 

:5g: 


® — r-g 


£5 


l§=igEE*§EE£§ 


27 


2.  Dictation  of  chords  for  hearing  the  root. 

It  should  be  understood  that  the  root  is  the  tone  having  the  most  solid,  sub- 
stantial sound.  It  is  the  foundation  of  the  chord.  Unlike  other  foundations,  it  is 
not  always  below  its  other  parts  but  is  sometimes  heard  in  the  middle  or  highest 
part.  But,  wherever  it  occurs  it  may  be  recognized  by  its  supporting  character. 


As  the  following  chords  are  played  they  may  be  sung  and  the  position  of  the 
root  named — whether  lowest,  middle  or  highest  voice. 


3.  Building  chords  on  the  seven  tones  of  the  major  and  minor  scales. 

The  use  of  the  melody  names  in  this  first  chord  work  is  earnestly  recommended, 
as  the  children  are  supposed  to  be  familiar  with  them  and  they  are  the  same  for 
all  keys. 

Each  tone  in  the  scale  will  be  used  as  a root.  By  adding  its  3rd  and  5th,  the  triad 
will  result. 

a — Principal  chords  in  major  keys. 

Build  the  Doh,  Fah  and  Soli  chord,  observing  that  all  the  scale  tones  occur  in 
these  three  triads.  A melody  harmonized  with  the  principal  chords  may  be  played 
to  show  their  sufficiency, 
b — Principal  chords  in  the  minor. 

Use  the  parallel  minor  scale. 

c — Comparison  of  the  principal  chords  in  major  and  minor. 

Observe  that  the  Doh  and  Fah  chords  are  minor  in  the  minor  key  and  major  in 
the  major  key  but  that  the  Soh  chord  is  major  in  both, 
d — Recitation  of  principal  chords  in  all  keys.  (Pitch  names  used.) 
e — Principal  chords  written  and  played  in  certain  keys, 
f — Secondary  triads  in  major  and  minor  keys. 

1.  Build  the  Ray,  Lah,  Me  and  Te  chords  in  major  and  minor. 

2.  Sing  and  determine  their  character. 

3.  Write  and  recite  them  in  all  keys. 

Classification  of  Triads. 


r Doh 

Chord  — Major. 

/ Major  keys — •<  Fah 

Principal 

\ ( Soh 

Chords. 

j ( Doh 

,,  — Minor. 

y Minor  keys — -<  Fah 

( Soh 

,,  — Major. 

28 


(Major  keys— 

Chords.  \ 

( Minor  keys — 


Ray  Chord 

— Minor. 

Me  ,, 

>> 

Lah 

9 9 

Te  „ 

Diminished. 

Ray  Chord 

— Diminished. 

Ma  ,, 

Augmented. 

La  ,, 

Major. 

Te 

Diminished. 

Harmony  Names. 

Tones  forming  the  Chord. 

( Tonic  or  key  tone  chord. 

Doh, 

me, 

soh. 

Principal  Chords. 

] Dominant  or  Ruler  of  the  key. 

Soh, 

te, 

ray. 

( Sub- Dominant  or  Under  Dominant, 
r.  Mediant — half  way  between  Tonic 

Fah, 

lah, 

doh. 

Substitutional 
Chords.  { 

i and  Dominant. 

Sub- mediant — half  way  between 

Me, 

soh, 

te. 

Sub- dominant  and  Tonic. 

Lah, 

doh, 

me. 

Super  - tonic — above  the  Tonic. 
Leading-  tone  chord — leads  to  the 

Ray, 

fah, 

lah. 

Tonic. 

Te, 

ray, 

fah. 

Hearing  Roots  of  Chords  in  Progressions. 

Suggested  Process. 

A.  Chord-progressions  played  by  the  teacher  with  strongly  accented  roots  in  the  bass. 

a — Pupils  listen  to  the  bass, 
b — Hum  the  bass. 

c — Sing  the  melody  names  of  the  roots, 
d — Name  the  roots — Tonic,  Dominant,  etc. 

B.  Triads  played  without  the  bass.  Pupils  hum  the  roots  and  sing  their  melody  names 
and  pitch  names.  The  keys  chosen  should  be  in  range  of  the  pupils’  voices. 

C.  Dictation.  Pupils  listen  to  the  roots  and  write  them. 

D.  Duet.  Use  studies  “B”  and  “C.”  The  teacher  plays  the  given  chords  and  the  pupib 
after  humming  and  naming  the  given  roots,  plays  them  as  bass  tones. 

E.  Studies  for  recognizing  Tonic,  Dominant  and  Sub  -dominant. 


A. 

Bass  given. 


Chord  Progression  for  Recognition  of  Root. 


29 


80 


31 

Inversions  of  Triads. 


When  the  tones  of  a triad  are  changed  about  so  that  the  lowest  voice  sings  the  3rd  or 
5th,  and  the  middle  or  highest  voice  sings  the  root,  the  triad  is  said  to  be  inverted. 

The  original  position  of  the  triad  is  called  the  “A”  form. 

When  the  3rd  is  the  lowest  tone,  we  have  the  “B”  form. 

When  the  5th  is  the  lowest  tone,  we  have  the  “C”  form. 


Close  Distribution.  Open  Distribution. 


£ — ^ — 

W 

7 

L. 



I5  ?! 

Z 

fcZL 

L^- 


A form.  B form.  C form.  A,  B and  C forms. 

Emphasize  the  idea  that  one  chord  only  has  been  sung  and  written— that  Di?  is  the 
root  each  time. 

Class  Exercises. 

a — Singing  of  forms — the  tones  to  be  sung  successively. 

b—  Naming  of  forms—  the  tones  of  the  chords  played  simultaneously. 

c — Oral  recitation  of  forms — pitch  names  of  required  chords  being  given.  Example: 
the  “B”  form  of  the  chord  of  D is  F#,  A,  D,  etc. 

d — Playing  of  the  three  forms  of  required  chords,  by  pupils. 

e—  Give  examples  of  inverted  chords  in  open  distribution  in  three  and  four  voices. 
The  forms  may  be  named. 

f — Finding  inverted  chords  in  simple  compositions  for  the  piano. 

g—  Dictation  of  the  three  forms  in  chord  progressions,  in  close  and  open  distribution. 

Chords  to  be  written  at  home. 

1 — Tonic  chord  of  every  major  key,  in  the  three  forms. 

2—  Tonic  chord  of  every  minor  key,  in  the  three  forms. 

3—  Dominant  chord  of  B>,  D>,  C*,  E and  F#,  in  the  three  forms. 

4—  Tonic  (C  form),  Dominant  (A),  Tonic  (C),  Subdominant  (B),  Tonic  (C)  in  some 
given  major  key.  Transpose  to  all  keys. 

5 Tonic  (A),  Sub- dominant  (C),  Super- tonic  (A),  Dominant  (B),  Tonic  (A)  in  some 
given  minor  key.  Transpose  to  all  keys. 


b.)  Unconnected  chords  for  naming  the  forms. 


32 


e.)  Chords  in  open  distribution.  Three  voices. 


1 f 

2— 1 7— 3=; 

td  i 

1 

• 

“ 

j 

s^| 1 

1 

•Si 

^=3 

1 

I 

El 

rv?  a 

)T  4 

1 

______  cJ 

2 

i 

i 

r i 

° r 

- 

1 

n,  , J 

l—i  -1 

|= 

— 47 

— mi 

\-J-4 

SI 

! 

1 

■1 

-U— 

— □ 

u 

14- v~l -»d ^ 

i — 

— 

— 

— m — * 



— -S 

• 



1 

H 

^ * f 

ill 

ts 

L/  T~  y 

47  f 

1 * 

I 

r r 

& 

i 

• 

i 

1 — m — a — <0 — 1 

i 7^ 

— ^ r 

r 1 1 

i ^ a 

Chords  in  four  voices  in  open  distribution. 


/i-&yi.£t_^_  * f - 

J 

i i 

7Z> 

if — 4 r -— 

i j j 

( slA-4 — z? f — * - - 

r — -r 

i i 

& & 

(T3~  CD 

P f 

1 1 

^ .ig- 

— ^ r 

...  CD 

CD 

' ^ 2 ' 4 p K 

— E E - 

* From  this  chord,  one  tone  has  been  omitted.  The  children  should  discover  which  one  is  missing,  the  root,  3rd  or  5th. 
The  importance  and  necessity  of  the  3rd  in  the  chord  may  be  brought  out  at  this  point. 


33 


g.)  For  dictation. 


t 

& 

52 

n£ — 

H 

g - 

—3 — J-H 

— g=fi 

r(ny^  L^.  g 



: 

_22_  ' 

M ^ J 

Four  voices. 


* The  longer  studies  may  be  given  out  a phrase  at  a time. 


34 


Hearing  the  Highest  Voice  as  Fart  of  the  Harmony. 

In  a melody  harmonized  with  triads,  the  highest  voice  may  be  designated  as  root,  3rd 
or  5th  of  the  chord  to  which  it  belongs. 

3rd.  5th.  3rd.  5 th. 


I-'-*  I 

There  must,  of  course,  be  a decided  feeling  for  the  root  in  order  to  place  the  highest 
tone  in  its  right  relationship.  For  certainty  in  this  respect,  sing  the  chord  tones  down  to 
the  tone  giving  the  feeling  of  greatest  repose.  This  will  be  the  root  and  by  singing  up- 
ward again,  the  harmonic  relation  of  the  highest  voice  will  be  clear. 

Studies  for  Hearing  the  Highest  Voice  in  its  Chord  Relation. 

Woodbury. 


5tli. 


Haydn. 


-h — 

d d d — 

i -d-.  ..  -j — 

* wL  S * — 

— * 

— m ^ * 

- 0 m — 

r r 1 

=?= : * ]*— 

I 1 

1 I 1 

0 ■ f m 

1 > 1 

J «(.*-)  J- 

/ ZS'-k-jd. — m — 

— j 

& £ 

: - f 

F? — f F r- 

— d * 

— -1 — 1 ' 1 . -J 

35 


rr 


> * > > 

^ S > ,S 


:t— ' 

-K— h^— i*1- 


t*=  r ^ 


tz=£ 


-g*— 


=t 


r 


__^__^__y  ,V 


y y y y 


* £ - 


PLEYEL. 


f=t= 


Finding  the  Harmony  for  a Given  Melody. 


Every  melody  has  its  harmonic  basis.  A series  of  tones  without  this  underlying  feel, 
ing  of  key  and  harmony  could  not  he  considered  a melody. 


Example. 


E3 

r 5 — r n 

t r 

tv 

tt  . u,  . — , rbrz?  . — 

/ G ^ tt 

A Melody. 


rH 

j 0 1 1 1 

rri 1 j — 1 

r y 

r_£l :.~1  i 

1 

_| 

r\  A A 

* 3 

-- 

V a m 

* -J  - 



The  melodies  given  are  to  be  heard  in  their  chord  relationship.  The  melody  itself 
must  be  grasped  in  its  entirety,  if  short,  or  in  phrases,  if  long,  for  the  succession  of  the 
chords  used  will  depend  on  the  progression  of  the  melodic  tones. 

Use  the  plan  previously  suggested — singing  down  the  chord  tones  to  the  point  of 
repose — for  determining  the  position  of  the  melody  tone  in  the  harmony.  In  these  studies, 
however,  the  pupil  must  depend  on  his  natural  harmonic  instinct  instead  of  the  actual 
sound  of  the  chords  as  played  by  the  teacher  on  the  piano. 

The  position  of  each  melody  tone  in  its  chord  should  be  designated  as  Root,  3rd  or  5th 
and  the  figures  I,  IV  and  V may  indicate  the  harmonic  basis. 


3rd.  5th.  R.  5tli.  3rd.  3rd.  5tli.  3rd.  5th.  R.  3rd.  5tli.  R. 


H 

/ ■,  A 

1 

“1  « 

-|  J | 

1 1 1 

L y? 

! w 

* 4»  N* 

zil  11 

r y 

rv  ' 1 » n 

W 1 , ^ 

w n n 

— I ^ 1 1 

tv 

y 9E  w 

0 

H t=  : 

— ^ m — 

I V I IV  I I V I 


Work  to  be  Done  at  Home. 


“S’wanee  River”  and  other  well  known  melodies  may  be  written  from  memory,  and 
the  harmonic  position  of  each  melody  tone,  as  well  as  the  particular  chords  used,  indicated 
as  above. 

Melodies  for  Harmonizing  with  Principal  Triads. 


(The  harmony  is  to  he  indicated — not  written.) 


36 


fj 


Fd 

it 

I'  *i  d E 

1 

III 



j 

^ • 

m — 

| 

1 

\ 

1 

i 

1 

Efc 

» j 

' * 

1 

S' 

ft 

| 

! 

•1 

1 



U 


— ^ ; 

49 

f]\ 

1 

^ 

— m— 

1 — 

^ j 

d 

« — 

— 1 

* zj 

Hd 

l_d_ id 

1—3 

— R 

ti 

f 

5— 4-f- 

=F — | 

1 1 

f=  h 

— 

£ 1 

1 

1 — 

1 * 

i- 

\vr 

ft  L. 

1 1 

L_L 

— 0 

r 


3- 

— 1 

— m 

m « 

1 -4» 

4 

1 — 

1“ 

* — 

E©  4 * * 

—1 

— * — 

— *— 

-F 1= E 

U F 

— m — 

— m — 

— m — 

t ' 


Ed 

, 

* 

1 

1 

1 

m. 

& 

* £ 

— | 

h^=i 

t= 

— m— 
1 

m 

— 1 

fci 

m— 

£5 

ti 

krF — T — 

5—^-1 

1 

f=  1 

1 

1 

— I 

= 

= 1 

1 

1 

J 

— 

= 

= * 

i — 

1 

— 1 — 1 

1 

" 1 

fj 


^-4— * — *~|yzj 


[~~T  l~f 


-(« 4P- 


d 

r j 

- 

A 

! 3 . 3 

i ■ 

1— 

S'-; 

37 


CHAPTER  V. 

THE  CHORD  OF  THE  DOMINANT  SEVENTH. 

a — The  piano  may  introduce  this  chord  without  its  resolution.  Its  unfinished,  ques- 
tioning sound  will  be  readily  appreciated  by  the  children  and  they  may  be  invited  to  sing 
un  answer.  As  each  tone  asks  for  a certain  other  tone  to  follow,  resolve  each  part  in  turn, 
in  the  following  order : 


Introduction.  Te  — Dok  Fah  — Me.  Ray  — Doh. 


Ray  _ Me.  Ray  — Soli.  Sob  — Soli.  Soli  — Doll.  Te  — Sob. 


b — Establish  the  key  feeling  by  playing  the  two  chords  again  and  let  the  class  recog- 
nize the  root  as  that  of  the  dominant  chord.  Study  its  intervals  — root,  large  3rd,  perfect 
5th  and  small  7th. 

c — The  class  may  sing  the  tones  forming  the  chord  (melody  names  used)  and  follow 
each  by  its  answering  tone  in  the  tonic  chord:  Te — Doh;  Fah — Me;  Ray — Doh,  Ray — 
Me  or  Ray — Soli;  Soh — Doh,  or  Soh— Soh.  Call  Te  the  Up-leader  and  Fah  the  Down- 
leader. 

d — A composition  in  which  the  dominant  7th  chord  occurs  frequently  should  be 
played,  and  every  recognized  recurrence  indicated  by  the  class. 

e — The  dominant  7th  chords  of  all  keys,  major  and  minor,  should  be  recited,  played 
and  written,  with  and  without  resolutions. 

Show  that  the  dominant  7tli  chord  is  really  master  of  the  key,  because  the  Doh  chord 
must  come  at  its  call  or  send  a substitute.  (Substitutional  chords,  chapter  eight.) 


Inversions  of  the  Dominant  Seventh  Chord. 

Chords  with  three  tones  have  three  forms — tw^o  inversions:  and  chords  with  four 
tones  have  four  forms— three  inversions. 

Chords  with  three  tones  are  triads. 

Chords  with  four  tones  are  7th  chords. 

The  four  forms  of  the  7tli  chord  are  called  A,  B,  C and  D forms. 


38 

Class  Exercises. 


a — Recognizing  the  forms  of  the  dominant  7th  chord  and  of  the  chord  on  which  it 
resolves,  from  hearing. 

b — Practice  in  singing  successively  the  tones  of  the  dominant  7th  chord  in  the  four 
forms,  with  the  resolution  of  each. 


=1 

© r [ 

1 — f 

h-— 1 £? 1- 

— 2^ — & — F~ 

\-E^  t L- 

H -1  n h2 » 

& t=  * 

In  Minor. 


-bd  3 

# J i 

1 ? 

n 

— 

r : 

Zr  & 

* 

r 

c — The  class,  divided  in  four  parts,  may  sing  the  tones  of  the  dominant  7th  chord, 
like  a quartet,  giving  both  major  and  minor  resolutions. 


In  Minor. 


rj- 

1 

UC2 

h 5? 

-- 

- = 

1 



d — Designating  the  tones  of  the  highest  voice  as  root,  3rd,  5th,  or  7th  in  the  chord 
progressions  given,  (a) 

e — Finding  the  harmony  for  melodies,  using  the  dominant  7th  chord  as  well  as  the 
principal  triads. 

f — Writing  chord  progressions  from  dictation. 

g — Finding  dominant  7th  chords  in  compositions  studied  by  the  pupils. 


Written  Analysis  of  Chords. 

Roman  numerals  may  be  used  to  designate  the  degree  of  the  scale  on  which  the  chord 
is  founded.  A large  numeral  indicates  a major  chord  and  a small  one  is  used  to  describe 
a minor  chord. 

The  form  may  be  named  by  the  letters  a,  b,  c or  d at  the  lower  left  of  the  numeral, 
while  R or  1,  3,  5 or  7 will  designate  the  position  in  the  chord  of  the  highest  voice.  A 
small  7 at  the  lower  right  of  the  numeral  indicates  a 7th  chord.  If  the  chord  is  diminished, 
a small  ° will  be  placed  at  the  upper  right  of  the  numeral,  and  if  it  is  augmented  the  sign 
f will  be  used  in  the  same  place. 

2 VII  5 describes  a diminished  7th  chord  in  the  b form  with  the  7th  in  the  highest 
voice. 

IIP  describes  the  augmented  triad  on  the  mediant. 


39 


a.)  Studies  for  recognizing  the  forms  of  the  Dominant  Seventh  and  Tonic  chords  from  hearing. 


40 


-ft-  -j — 

. -i  4— 

A ' f® 

1 

1 =1 



l 

) 1 1 

/ ^ 

e?  * 

%f-  r 

i i 

rJ  • ll 

* * 

r : ^ 

1 1* 

g:  * % 

’ ^ 

1 

40 

r 

i 

J ^ 

__c^ cJ m 

r r r 

u.  A J- 

p m 

\~2 1 

1 

1 

jzL9 

o • — 

^5  «s> 

r r 

H1- 

* t 

P— 

* r 

p 

e.)  Melodies.  The  harmony  to  be  found. 


41 


J.  J.  Rousseau. 


r-f  , 1 

^ - 

m 1 f? 

— « — 

(«.  « J I J 0 0~~\  f'  " f 

* 

9 _j_ 

— F—  H — 

— f=— 

— l--* — ^ p — F-l-i — i — f — 

\ 

c 

■| 

_h 

^ 

□ 

1 —I  1 - 

nj  4 

n 

J 

□ ij 

0P  4*  j -2*3- 

| 

— H — si  H 

hr?  ** 

91  J 

1 1 

s! 

_ .J  J 

~ m &> 

S 

}7  -r  ^ ^ 

— U 1 

- 

m 

f.)  Dictation  Studies. 


/3 

l 4ja<^ 

— 

— s — 

g 

tes> 

— &g — 

o 

— 

■ o ■ 

(* 

< 

w% 

— s— 

— g? — 

- ■ o 

_C^ 

— s — 

?s 

-s- 

-s- 

. : 

-<s- 

— ^s — 

— o 

— ^ — 

O 

— (S' — 



— ^ 

— s — 

— 

s a o 

4 — 

— 

— 

— 

— 

4Stt^ d 1— 

— j — 

A 

u-* 

1 1— 

1 — I 

1$ 

r^rt-zf  * 

j . 

^ f>  ^ r 

« —1 

r— 1— i I* 

— £ J*- 



- — ^ ■ 

— =+— s — tt»— 

— +y— 



{* 

\ 

y 

| | 

_l 

~r  if- 

d 'S' 

r ^ 

i 

i 

& «-*■ 

\ 1 

' J_ 

7^- 

1 

1 



g 

rvtt  o 

1 \ 

k._q  fS  f: 

— ^-2 05S — 

0 

CU  • 

yiSjL  ^ ^ 4£ 

— 1 — 1 

L «r 

L—  S 

ja. ,4-  L 

L 1L 

U H 

io  p t 

— 

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7 4- 



&— -S* 

Nettleton. 


42 


CHAPTER  YI. 


CADENCES. 


A Cadence  is  a progression  of  chords  forming  a close  of  any  part  of  a composition. 


The  Authentic  Cadence. 


Introduce  by  playing 


For  the  class : 


yP--fy4 S: 

— — 

& n 

: : 

rTV  ji  — 

1- 

— 

gs£  ..4  j» 7 

==£-4 1 ^ 

o 

a — Sing  the  roots, 
b — Name  the  chords. 

c — Name  the  harmonic  position  of  the  highest  voice, 
d — Sing  each  voice  alone,  and  write  it,  with  melody  and  pitch  names. 


Notice  that  the  same  tone,  Soh,  is  found  in  both  chords,  making  a bond  between 
them,  and  is  sung  by  the  same  voice. 

Observe  the  direction  in  which  the  three  other  voices  of  the  Dominant  chord 
move. 

Definition  : An  Authentic  Cadence  is  a close  in  which  the  final  Tonic  chord  is  pre- 

ceded by  the  Dominant. 


For  the  next  lesson,  the  Authentic  Cadence  may  be  played  and  written  in  some  given 
key,  and  afterward,  in  all  Major  keys.  The  chords  may  be  played  and  written  in  other 
distributions  as  well,  and  later,  the  inverted  forms  and  the  Dominant  7th  chord  may  be 
introduced. 

Examples  of  Authentic  Cadences. 


i 

A-3  & m~ 
■ ^_j£_  z 

^ 

— 4— m — 

± r 1 — 

i i 

-G- 

O'  • 

r 

i 

-G-> 

~sii  " 

i 

1 1 

- a . J J_ 

-f~  ■ 

j. 

::2- 

w * 

—G—~ 

-A-4—I 

*'4  -F  jfd 

— G— 

-b 

±A  1 ■&— 

-4-  : 

j- 

-1 — 
— 7*2- 

5-3  4 — 1 — 

4 



5:3 

4 : 

; 

-4  —4 * 

-G- 

1 1 

• 

-G-' 

I 

A ?2  -± 

-G-  -9- 

: 

-G' 

1 

4 J 

p=H=-^=F= 

JL. 

jO»  

,ft  <=1  * _ 

J. 

— 

i i 

W — % 

I 

g:  : 

• 1 — 

bl  cV 

1 

J 

fet  g,_ 

"p.  ■ 

5:4 — F 

V, 

1 

etc. 


43 


For  the  class : 

a — Observe  the  character  of  the  chords — whether  major  or  minor, 
b — Divide  the  class  into  four  parts  and  let  them  sing  the  four  voices, 
c — Play  and  write  in  all  minor  keys. 


Plagal  Cadence. 


Schumann. 

/ 


k 1 1 1 

-i^-4 

/ 

J ^ - 

4*  3 ^ ^ 

S) 

■■  ■ 

=K=  . 

& 4 

« % -g- — 

— — 
A 

WS2T  '.£2- 
1—  1— 



- men. 

^3 

7^ Y*  k i 1 

[_  (_ 

& 

i?  4 

h t~ 

h i- 

Play  the  final  chords  again  and  follow  the  outline  of  steps  used  in  learning  the 
authentic  cadence. 

Definition : A Plagal  Cadence  is  a close  in  which  the  final  Tonic  chord  is  preceded  by 
the  Sub  - dominant.  It  is  sometimes  called  the  Amen  close. 


Examples  of  Plagal  Cadences. 


4-. 


v 


'-4“l 


-£2- 


—A-z*. 

±Az£z 


-£2- 


5 3 1 

Azim 


-A-~z 

-9-4 — P 


In  Minor. 


4 , 12  A o 

1 

-1  ' 

4 — 

-rk-te- » 

g-T 

^ 

t s 

IS : 

9 V 4 s 

S?— 

— - 9i 

*5 — 

* - db  f 

t 

— ^ 

1 — 

(T2  • 

r 

r 

£2  • 

r 

A • u O 

k _£*  « 

L_ 

(£2-- 

Z.  9 k-.H  * 

h 

|_ 

K 1 1— 

r— 

u.  - /I 

7 9 4 

The  Authentic  Cadence  in  Minor. 


, 4 

— 

Z -4-S — 5s — 

— 7^ 

A: A 1 i - 

^ ; 

p*4--i=%- 

I 

=§= 

-9-k-T — e-2 Be? — 

— ^-A— — 

-e?- 

j_z_4_gi ^ — 

-g-  i?s- 

->  4 1 

r 

A 2_4_^_4g^- 

-<s>- 

k 4 t "^2 

g 

etc. 

-i s>- 

L_!?  4 l_  - 

-A-9-4 1 

* ^ J 

-W-4 4 

Minor.  Major.  Minor.  V7 


44 


For  the  class: 

a—  Play  plagal  cadences  in  all  keys,  major  and  minor, 
b — Write  plagal  cadences  in  all  keys,  major  and  minor, 
c — Distinguish  authentic  and  plagal  cadences  from  hearing, 
d — Analyze  cadences  in  compositions  studied  by  the  pupils. 


The  Half  Cadence. 

A Half  Cadence  occurs  when  the  phrase  closes  with  the  Dominant  chord. 
Example: 


;>v-i 


-*•—4 1 


Half  Cadence. 


Authentic. 


4- 


1 

I 

*L 

-m 

=f= 


• — 


V 

The  Deceptive  or  “Surprise”  Cadence, 

(See  Substitutional  Chords.) 


v. 


When  the  Dominant  chord  in  a cadence  is  not  followed  by  the  Tonic,  but  by  another 
chord,  the  progression  is  called  a Deceptive  or  “Surprise”  Cadence. 

Example : 


fj 


fc|4- 


Deceptive. 


V' 


VI 


Authentic. 


4: 


* 1 


4 


Yt 


The  Complete  Cadence. 


& 


The  complete  cadence  contains  the  progression : sub-dominant,  dominant,  tonic. 


For  the  class: 

a.  Name  the  chords. 

b.  Sing  the  parts. 

c.  Notice  the  progression  of  the  bass  and  upper  voices  from  sub-dominant  to  domi- 
nant chords  and  that  they  have  no  bond  tone. 

d.  Write  from  dictation. 

e.  Play  in  all  keys. 

f.  Write  in  all  keys. 


45 


The  Extended  Cadence. 


— 

sszz 


-t.2sz=tq 
-*=#=*=! 
- r~ 


Z ?-4=E=IL 


--1 t 


t— i— 

-g>  g 

rj?^.T»z 
IV  II, 


The  Extended  Cadence  introduces  other  chords  between  the  Sub-dominant  and  Domi- 
nant. In  the  usual  form  of  the  Extended  Cadence  the  Tonic  chord  in  the  “C”  form  occurs 
between  the  Sub-dominant  and  Dominant. 


For  the  class: 

a.  Sing  the  roots. 

b.  Name  the  chords  and  forms. 

c.  Sing  the  parts. 

d.  Write  from  dictation. 

e.  Play  in  all  keys. 

f.  Write  in  all  keys. 


Mendelssohn. 


Haydn. 


H 

iff  *_f  * w~*  f 

p h jrf-  p r 

P W m m 

...  - m - * - 

fr 

t I—  I-  r sh 

l~  h m~  p p 

, 

!“  i | 

h 

Auth 

entic. 

^ -1  i - - 

j v|  | 

__l  ""  — 1 i r 

_ ' ^ 

mf  \ ^ ^ ^ 

J J _J 

si  f f 

**  Z . _ $ 

—f *1 J J — 

— m- : 11 

46 


The  Wild  Rider. 


Schumann. 


Deceptive  Cadence. 


BACH. 


* The  Bach  illustration  I have  ventured  to  use,  although  it  introduces  melodic  tones  and  harmonies  not  yet  touched 
upon  in  this  outline,  because  the  deceptive  cadence  is  so  strongly  marked. 


47 


CHAPTER  VII. 

MELODY  QUESTIONS  FOR  ORIGINAL  ANSWERS. 

Idea  suggested  by  J.  L.  C. 

These  melody  questions  and  answers  will  be  recognized  by  the  teacher  as  the  theses 
and  antitheses  of  musical  sentences. 

Illustration  with  Words. 


Question.  Answer. 


— j 

_ 

. -j 

— 

1 1 

1 

-| 

> — 

I i 

■ n 

/ 

LF'li-iJ  _i 

I 1 

i 

i 

If 

5 * j4-  -J  _j 

J,  i 

□ 

“i  — 1 

r m 

! 

J H H*- 

11 

— rj- — J 

— 

~ W I 

\ — 

1 

1 

\ 

C 

i 

“Where  are  you  go  - ing,  my  pret-ty  maid?”“Go-ing  a - milk  - ing,  sir,”  she  said. 


The  harmony  for  these  questions  and  answers  may  be  indicated  and  the  cadences 
involved  named. 


Question.  Possible  Answer. 


:d 

/.  h ii 

d 

^ • 1 

■ 

— 

_ A 

L_  ^ ti  L 

1 

1 

; 

U 

K- — 4 

[_ 

| 1 

48 


49 

CHAPTER  VIII. 


SUBSTITUTIONAL  CHORDS. 

Every  principal  chord  has  a substitute.  This  chord  often  follows  its  principal  like  a 
shadow,  but  is  frequently  used  in  its  place. 

Each  substitutional  chord  has  two  tones  in  common  with  the  principal  chord.  It  has 
the  root  and  3rd  of  the  latter  for  its  3rd  and  5th  tones,  and  as  it  usually  is  found  in  the 
B form,  it  bears  a close  resemblance  to  the  chord  whose  place  it  takes. 


The  Substitute  for  the  Sub- dominant. 

(The  Super-  tonic.) 


Example  : 


Determine  the  name  of  each  substitutional  chord  as  it  is  introduced,  by  singing  its 
root.  Note  the  similarity  of  the  chord  to  its  principal. 

The  Substitute  for  the  Tonic. 


Example : 


(The  Sub-mediant.) 


When  the  dominant  asks  for  .the  tonic  in  a close,  but  is  answered  by  the  substitutional 
chord,  we  are  surprised  and  call  the  cadence  the  “surprise”  or  deceptive  cadence. 

The  Substitute  for  the  Dominant. 


Example : 


(The  Mediant.) 


,£* a 

- -4  =1 

4 1 -i 

^ * 

. . =2=\ 

=j  :: 

s w 

& m 

i . i 

25 m 

f r ■ 

p . -r- 

— 

\ 

A A 

A 4 

A i 

1 

rz 

tea  r 

& <B 

|-  _ 

& 

1 

4 t- 

F 

1 <0 

r 

1 

“I 1 1 

bill  alii  II  bill 


The  mediant  is  also  called  the  melodic  form  of  the  dominant. 


50 


The  Super-  tonic. 


Iio  11°  H° 


51 


/zfLlz  4 w “as^  "_J 

— 

=| 

»B  -Jg 

4 :; 

. _ 

\w  74  - fc-f  * 

— ^ — 
— m — 

<9 

^ 

1 

1^1 

/ 48*  *>  . 

[ j* — j j*— 

1 

1 

- <s> 

1 

1 I 

- - ^ 

\ t r_t  t 

— « — i* — 

— « — 
i 

49 

" i~ 

The  Sub  - mediant. 


i 

^ • 

■■■■ 
— — 

— J — 

-1 

irl  • 

— — rJ~ 

1 

- * 

-1.  „ 

^ • 

(fe*= 

S'-1 

r 

— 

hi 

r r f 

• 1 1 1 

— &- 

1 1 I 

— e^- 

--  . ' 

1 | <* 

— 0— 

j 

(®Ef= 

p 

-&-• 

^ ^ J. 

hr  r n 

p ■■■■■■ 

i 1 , 

-r*  '!-r 

! 

- ^ • 

— 1 

P t=P 

i 



■ 

VI  IP  VI  IP 


— ■>. 


(gifs 

^ t;  (• 

/ 1 

r r 

~P — =1= 

5^  0> 

-<E?~  f®> 

| | 

f 'i  i_ 

jo 

p 4 

^ * 
(• 

1 1 

' : s 

r r i, 

— — .-J- 

(•  * <9 

1 1 -*- 

— 3-4— =1- 

—9>—w>—3 tr 

-*-  (•  (• 

1 1 1 

1 

_^p_ 

\ 

/ Efe  % 

* -j- 

1 1 

-pg-  s- 

4=^ 

ri- 

ii 

1 1 j 

s f 5 

p 

1 1 1 

-i  ^ ^ 

' J ■ 

-r—  m 

-t= — i=- 

p 1 — p 

^ <* 

-=-'4 

— 1 II 

52 


The  Mediant  Chord. 


TTfr 

==]-: 
i ^ 

i* 

i 

1 c 1 1 

Ff*T= 

is  1 

J . * * 

^ * 

1^11 

nj)|  tjjj 

) , J 

( i 

"4 

i 

^ • 

l 

M-;- 

1.  F*  1 J 

' *V  s s 

J-  -=J- 

: - * 

1 

—m — ~ 

r-1- 

=1=3 

t= — 1 — 

p p f*  1* 

^ * r r 

— i — J 

bill  bill 


(General.) 


Substitutional  Chords. 


53 


—1—1=* 


•3 


-± 


{& 


:3_ &: 


fet 


Si* 


f-r 


ir—f 


W 


— SI- 


I 

i- 


1=^1 


i=fc*= 


(•  I 


=t 


=q= 


^ ^ 


I 

— 


i^fef=S--s 

-| — r 


:^i— S r 


Itet^ES 


r i 


— i — 

±£= 


% 

=t= 


-m—a—m- 

i i i 

i i t 
izb=p=c= 


i I 

-»)— s>- 


-£2_ 

r- 


i — i — r 

i 

t 


i— r — r- 

i i I 

*>  -^-  -«- 

I=£=ee 


~ 32 


-f-t-: 


54 


The  Super=tonic  and  Sub=mediant. 


Illustration  of  the  use  of  the  Sub=mediant  Chord  in  Minor. 


Fu.  Chopin. 


55 


CHAPTER  IX. 

THE  CHORDS  OF  THE  DOMINANT  NINTH 

AND  THE  LEADING-TONE  TRIADS  AND  SEVENTH  CHORDS  IN  MAJOR  AND  MLNOR. 

The  Chords  of  the  Dominant  Ninth. 

Example : 

In  Major.  In  Minor. 


The  intervals  of  l^he  ninth  chord  may  be  analyzed  from  hearing  and  the  resolution 
of  each  tone  discovered,  as  suggested  in  chapter  five,  the  dominant  7th  chord. 

The  3rd  and  5th  resolve  upward,  the  9th  downward.  The  9th,  Lah  in  major — La  in 
minor,  resolves  downward,  on  Soh. 

Analysis  of  the  intervals  will  show  that  in  both  major  and  minor  keys  the  3rd  is 
large,  the  5th,  perfect  and  the  7th,  small.  The  ninth  is  large  in  major  keys  but  small  in 
minor. 

The  dominant  character  will  be  easily  recognized. 

The  following  melodies,  giving  the  resolution  of  each  tone  of  the  dominant  ninth 
chord,  may  he  used  as  a dictation  study. 

Example : 

Major. 


It  will  be  seen  that  the  5th  and  7th  of  the  chord  resolve  on  the  same  tone.  Since 
four  voices  only  are  needed, the  5th  may  be  omitted  from  the  ninth  chord.  Another  melody 
may  illustrate  this  omission. 


56 

An  example  of  the  resolution  of  the  chord  with  the  minor  9th  on  the  major  tonic  chord 
should  be  given,  as  well  as  the  melodic  leading  of  the  voices  through  the  mediant  and 
dominant  7th  chords  to  the  tonic,  and  through  the  sub-mediant  7th  chord  and  dominant 
7th  to  the  tonic. 

Example : 

Minor  9th  to  Major  I.  a V9  bill  a V7  aI  a V9  aVI7  b V7  aI 


S'  3 

^ g?-= 

....  # 

-y-a- 

1 

^ c* 

— <s> 

& 



c^>  • 

Iffg  ^ — g — 

1 1 ! 

* 

:ter^ d d— 

\B — ® — 

H ^ 

2 t 

— P 

— t •- 

Inversions  of  the  Dominant  Ninth  Chord. 


The  Leading  Tone  Triads  and  Seventh  Chords. 

Since  these  chords  are  found  in  the  chord  of  the  dominant  ninth  and  have  the  same 
close  relation  to  the  tonic,  they  may  be  introduced  next  in  order. 


V9  vii,  V,  vip  V,  viii,'  V,  vii° 


F# — 3 — 

— 

s 

-fl — — : 

— 

S 



cg2 

- p- - 

— te — 

- 

U cs 

- P - 

fe 

P : 

Leading  Tone  Triads. 

Vlio  I VII0  I 


e2 

4. 

[ 

EE 

ty 

E 

1)  |5 

w 

II 

s©- 

ft 

— J 

The  leading  tone  triad  is  diminished  and  has  in  it  the  two  strong  leading  tones — Te 
and  Fah;  Te  leading  up  to  Doh,  or,  if  in  an  inner  voice,  down  to  Soh,  and  Fall  leading 
down  to  Me  or  Ma,  but  often  up  to  Soh.  Note  its  similarity  to  the  dominant  7th  chord. 

The  leading  tone  7tli  chord  contains  these  two  leading  tones  as  well  as  Lah  (or  La) 
which  has  also  a strong  tendency  downward  as  noted  in  the  resolution  of  the  dominant 
9th  chord. 


In  Major.  In  Minor— the  chord  of  the  Diminished  Seventh. 


h 

£ # 

EE 

t 

^ 

tip  1 

vii7  i vii?  i 


Observe  the  similarity  of  these  two  chords  and  also  the  difference  in  their  sevenths, 
one  (in  the  major)  being  small,  while  the  other  (in  the  minor)  is  diminished,  thus  giving 
the  chord  its  specific  name — diminished  seventh. 


57 


Inversions  of  Leading  Tone  Seventh  Chords. 


.... -tl ZZJ  . . . 

- 

,{(22 

\W 

-«S-  -S- 

w 

-P 8- 

\ 

- ^ <s 

® ■ tFi— 

For  the  class: 

a—  Recognition  of  the  leading  tone  triad  and  seventh  chord  and  the  chord  of  the  domi- 
nant ninth  in  simple  chord  progressions,  from  hearing  and  at  sight.  In  listening  for 
these  chords  in  the  following  studies  a clap  of  the  hands  may  indicate  the  recog- 
nition. 

b — Playing  these  chords  with  their  resolutions  in  any  key. 

c — Writing  them  in  all  keys. 

a.  The  leading  tone  triad  and  seventh  chord  and  the  chord  of  the  dominant  ninth  in  major  and  minor. 


,£*-+=2-1= 
(W^  r r-f 

i 

I 

m — 

-1  ~ <9 

V1 

«S  (• 

r r 

i j 

-s*-  -m- 

— - m — 

—f— 

«s  P 

r r 

1 1 

Hi-*  * 

r r r 

^3  • 

— --<£?— 

^ • 

*2,-1 

\v  i i ' 

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J. 

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ll 

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J 1 i 

zz  o> 

49  * 

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'S4=feg-=e- 

49 

— £2 r_ 

t=  h 

— 1= 

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Z— f— t— 

(22  •— 
1 — 

^ i 

bVII°  bVII0 


I 


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T 


* * 

trr- 


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3 


mL_S 


\~ 


r- ' 


s 


— d=i 


5 


(S— 


=t==t 

r r 


bVII0 


bVII!?  aV  V, 


mm 


/ (m.^  12  5.4- 

8 J 

— id — -*1” 

^ — 

£2  (C 

• 

£2  • 

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r 

r r 

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l 1 

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r 

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1 1 

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g s 

i J 

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«Ljl 

4 

( ®egf-p 

b . r 

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(- 

m 

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t p 

— [ 

m 

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YII° 


VII° 


58 


v9 


Vc 


II 


V,,  IIF  VT  I 


-j 1 — -\  - 

1-, 

-J-^\ 

— t=t= 

— 4— J— J= 

4 ^ 

f ^ s p * 

& -<s>- 
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1 1 

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p r r 

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1 * r 1 

-P— J— *— -*- 
P P -<S- 

1 1 1 

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1 

J J 

=sM- 

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J 

-^J  J-.J 

o 



! 1 

\=f-=f= 

b E " 

— ^ 

V9V,  vii, V.  vip  V.  in  I 


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59 


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Grazioso. 


R.  Schumann. 


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* The  F is  an  organ  point  and  may  be  omitted  in  playing  the  prelude  for  hearing  and  distinguishing  the  chords,  until 
the  class  is  sure  of  the  harmony  in  this  bar. 


60 


61 

CHAPTER  X. 

NON-HARMONIC,  MELODIC  TONES. 

While  every  tone  in  a melody  has  its  own  underlying  harmony,  this  harmony  is 
frequently  unexpressed  and  the  tone  is  uttered  simultaneously  with  some  other  harmony 
or  immediately  before  or  after  it.  These  tones  are  called  Melodic,  in  distinction  to  tones 
which  are  sounded  with  their  own  harmonies. 

Suspended  Melodic  Tones. 

Melodic  tones  held  over  from  a preceding  chord  and  delaying  the  chord  tone,  are  called 
Suspended  Tones.* 


Melodic  tones  occurring  between  chord  tones  in  degree  wise  progression,  are  called 
Passing  Tones.  When  they  are  heard  on  the  beat  simultaneously  with  the  chord,  they 
are  called  Heavy  Passing  Tones;  but  when  they  come  between  the  beats,  they  are  called 
Light  Passing  Tones. 


L.P.  L.P.  L.P.  L P. 


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Heavy  passing  tones. 

II. P H.P. 


* The  initial  letters  are  used  to  designate  the  various  classes  of  melodic  tones  in  the  examples  given. 
Suspended  tones  are  marked  S. 

Light  Passing  tones  are  marked  L.  P. 

Heavy  ,,  ,,  ,,  H.  P. 

Changing  ,,  ,,  ,,  C. 

Appogiatura  ,,  „ ,,  Ap. 

Anticipatory  ,,  „ „ An. 


62 


Changing  Tones. 


Melodic  tones  which  are  followed  and  preceded  by  the  same  chord  tone  are  called 
Changing  Tones. 

c.  c.  c.  e. 


Anticipatory  Melodic  Tones. 

Melodic  tones  which  announce  the  coming  of  the  chord  to  which  they  belong,  are 
called  Anticipatory  Tones. 


An. 


An.  An. 


Appogiatura  Melodic  Tones. 

An  Appogiatura  Melodic  Tone  is  heard  with  the  harmony  on  the  beat  following  a skip 
in  the  melody. 


For  small  children,  the  term  Usurping  tone  may  be  substituted  for  Appogiatura 
tone  [J.  L.  C.]  and  the  Anticipatory  tone  may  be  called  the  Herald  tone. 


Chromatic  Melodic  Tones. 

Chromatic  Melodic  tones  are  frequently  found  in  melodies  or  accompanying  parts. 
While  they  do  not  always  effect  changes  in  key,  they  cause  stronger  progressions  and  add 
color  to  the  composition. 

In  the  following  studies,  the  Chromatic  Melodic  tones  may  be  noted  and  named.  The 
melody  names  may  be  given  and  the  character  of  the  Melodic  tones  mentioned,  whethei 
passing,  changing,  etc. 


63 


64 


A.  HOLLAENDER. 


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67 


CHAPTER  XL 

SECONDARY  SEVENTH  CHORDS. 

The  secondary  seventh  chords  may  be  introduced  in  order  by  short  progressions 
involving  the  use  of  the  chord  under  consideration.  The  order  given  is  as  follows:  super 
tonic  seventh,  sub-dominant  seventh,  tonic  seventh,  sub-mediant  seventh  and  mediant 
seventh  The  first  studies  under  each  head  may  be  used  as  introductory  studies  In  t e 
additional  studies  the  recurrence  of  the  chord  may  be  marked  by  clapping  the  hands  or 

tapping. 

The  supersonic  seventh  chord. 


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The  sub=dominant  seventh  chord. 

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The  mediant  seventh  chord. 


71 


General  Studies  for  Naming  all  Harmonies. 


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* Tonic  chord  with  lowered  7th  and  sub-mediant  chord  on  the  raised  6th  of  the  scale,  (the  melodic  minor.) 


72 


* Sub-mediant  chord  on  raised  6th. 

* * Mediant  chord  with  lowered  5th. 


73 

CHAPTER  XII. 

CHORDS  OF  TRANSITION, 

EFFECTING  TEMPORARY  CHANGES  OF  TONIC. 

A chromatic  tone  will  often  change  the  character  of  a chord  in  a progression,  making 
it  a dominant  or  leading  tone  chord  of  some  other  key,  whose  natural  resolution  belongs 
to  the  original  key.  If  a return  is  made  immediately  to  the  original  key,  a transition  has 

taken  place,  the  change  of  tonic  being  only  temporary.  . , 

A modulation  occurs  when  the  new  key  continues  at  length  or  is  emphasized  by  any 

form  of  complete  cadence. 


Transition  to  the  dominant  key. 


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m 


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Transition  to  super-tonic. 


74 


iO 


76 


Joyfully.  Schumann. 


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Beethoven. 


77 


78 


J.  S.  BACH. 


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Marcia  Funebre.  Beethoven. 

Maestoso  Andante. 


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